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An Anthology - Israeli Culture

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An Anthology - Israeli Culture Israel Studies: An Anthology - Israeli Culture Israeli Culture By Dalia Liran-Alper, Ph.D. (September 2010) Introduction - Culture and Israeli Culture From an anthropological perspective, the term “culture” encompasses the way social life as a whole is conducted – the tradition and typical customs, the character of the arts, the structure of social, familial, sexual, and economic relations, and so forth. Culture includes a value system and mediates between society and the reality in which it functions. Society and culture researchers emphasize that a shared cultural foundation based on cultural assets, traditions, values, and symbols is a prerequisite for a society’s existence. However, a shared foundation does not necessarily create a coherent and homogeneous cultural system, for in every society there are groups with their own unique cultural system that they seek to preserve and foster (Shavit et. al, 2000). The term “culture” is frequently used in the context of creative texts and art. If in the past the term “culture” in Western society referred to an elitist heritage of texts that was defined as high or classical culture, then in recent times its definition has expanded in the wake of two central developments: deepening social, ideological, and practical equality, coupled with the accessibility of additional social classes to a variety of forms of creative expression. The growing diversity of the media has also contributed to a heightened sense of equality and greater accessibility. In Western society, from an ideological standpoint, there is increased recognition that not only the elites but also the general public, the “masses”, and “others”, have a “legitimate” culture. Consequently, it seems that the boundaries between “high culture”, “popular culture”, and “folk culture” are becoming increasingly blurred (Liebes & Talmon, 2004: 69). Israeli culture has been evolving and growing for the past one hundred and twenty years. What is this culture? Is it even possible to speak of one culture? Does the culture that has been evolving in this small Middle Eastern country still belong to Jewish heritage? In response to orthodox rabbis who regard the new Israeli culture as inconsequential and vacuous, as “The Empty Wagon,” a compilation of articles published following a scientific conference on one hundred and twenty years of Israeli culture that was held under the aegis of the Hebrew University was entitled “The Full Wagon.” In this compilation a variety of culture and society researchers present Israeli society as a rich, living, and vibrant historical entity that reflects multiple contrasts, and a wealth of influences, that has experienced struggles, grown in the encounters between immigrants groups, and was shaped between ideology and spontaneity. Israeli literature, poetry, theatre, film, dance, Hebrew songs, and architecture, all illuminate the complexity and vitality of Israeli culture (see Bartal, 2002),[1] either as a value system or a diverse variety of forms of expression. Origins of Israeli Culture Israeli culture is the accepted term for the culture and art created in Israel from the late nineteenth century onward, and especially after the establishment of the State of Israel. Four foundations stood at the basis of the cultural reality that developed in Israel from the mid-nineteenth century: (1) pre-modern Jewish culture and Jewish heritage, which is represented by Yiddish and Ladino; (2) imperial culture, which the Jews adopted in the Modern Era, and which was http://www.jewishvirtuallibrary.org/jsource/isdf/text/liranalper.html (1 of 7) [9/27/2010 9:41:10 AM] Israel Studies: An Anthology - Israeli Culture imported mainly from Czarist Russia (and later from Poland and Germany); (3) local Middle Eastern culture; and (4) the new Hebrew culture, whose bearers were members of the Palmach[2] (Bartal, 2002). Zionism, the “Sabra”[3] Myth, and the Hebrew Language Bartal (2002) contends that Zionism was a chapter of ethnic nationalism and a demand for the reshaping of national Jewish culture. It grew from awareness of the problems that emerged in the wake of the disintegration of the multinational empires in Europe and the Mediterranean Basin. The Zionists strived to eliminate the cultural archetypes the immigrants brought with them, and sought to reshape the traditional heritage in a national-secular style and adapt it to a new national discourse. Thus the revival of the Hebrew language should also be viewed as the cultural language of the nation-state and as an expression of the new identity taking shape. He adds and emphasizes that modern Jewish nationality in its Zionist form not only continued the cultural unification trends of the new nation-state, but also the trends of the modern centrist state with its unilingual and unicultural ideology that opposed the earlier multiculturalism. The pre- modern Jewish cultures, which had been diluted with influences from their host countries, came to Israel with the waves of immigrants. Here they encountered the demanding force of a national ideology that sought to unite politics and culture. The painful encounter between heritage and the national vision created tensions, imposed changes, and engendered counteractions. Various cultural traditions claimed a place for themselves in Israeli society, and became part of the Israeli mosaic, either by merging into the dominant streams, or by externalized isolation (ibid.). In the first years of the State of Israel, what was termed “Israeli sabra culture” flourished (for more on this, see Almog, 1997). In later years, the veteran Zionist cultural system, in which the sabra constitutes the ideal Israeli (with socialist values, a worker, builder, and soldier), was replaced by two alternative cultures that vied for public opinion. The more central of the two is capitalist, liberal-democratic, and global in nature, and the second (although constituting a minority in society) is the religious, conservative-ethnocentric system. An Immigrant Society As the product of an immigrant society, Israeli culture combines within it a rich and diverse variety of influences and cultural endeavor drawn from the countries and cultures from which the immigrants came. During the first years of settlement in pre-state Israel, the culture in the yishuv[4] was mainly influenced by the milieu of the small Jewish town, the shtetl, from which most of the Jewish immigrants came, and by French and German cultures, which were encouraged due to the donations of Jewish benefactors such as Baron de Rothschild. In the 1930s and 40s, Russian culture had a dominant influence, which was manifested in poetry, music, and theatre. Theatre was also influenced by Yiddish culture and to a certain degree, especially the light entertainment stage, by vaudeville from the West and the innovative kabarett theatre that developed in Berlin. In the 1950s, French influence on Israeli cultural life was evident and, from the 1960s onward, western-American influence has increasingly grown in every sphere of culture and the arts. After the establishment of the State of Israel in 1948, waves of immigrants thronged to Israel from many different countries, but their influence on Israeli culture was gradual and only partial. The immigrants were required to assimilate into the new society, into the “melting pot” of Israeliness. Up to the end of the 1970s the influence of the cultures of immigrants from the Arab States, especially the Maghreb, on Israeli culture existed in the main through “mediators.” Thus, for example, the films that portrayed the world of Mizrahi Jews (“Bourekas films”) were almost always directed by non-Mizrahi directors (e.g., Menahem Golan), and the comedy trio “HaGashash HaHiver” brought expressions of Mizrahi culture, which the leaders of Israeli culture often times considered inferior, to the light entertainment stage. In some cases works gained recognition only in retrospect, e.g., popular Israeli singer Zohar Argov. Israeli Culture and Art Israeli culture is an effective tool for refuting the stereotypical perception of a “country under siege” and “bitachonism” [securityism], and giving expression to the complexity and diversity of life in Israel. The culture is multifaceted, open, and democratic, and the literature, dance, film, theatre, music, plastic arts, design, and cuisine reflect creativity, innovation, boldness, intensity, and Israeli audacity, chutzpah. http://www.jewishvirtuallibrary.org/jsource/isdf/text/liranalper.html (2 of 7) [9/27/2010 9:41:10 AM] Israel Studies: An Anthology - Israeli Culture Poetry and Literature The printed word and reading are central in the new Hebrew and Israeli culture. Social and technological changes pose challenges for readers, but recent studies indicate that beyond an aesthetic experience, readers in Israel claim that Hebrew literature helps them to define their national, Israeli, and Jewish identity (Adoni & Nossek, 2007). Many consider Hebrew poetry and literature to be one of the most commendable achievements of Israeli culture. Since the 1950s and 60s modern works have been presented in colloquial Hebrew, as opposed to earlier Hebrew poetry, such as that of Natan Alterman, Avraham Shlonsky, Rachel Bluwstein, and Leah Goldberg, or the literary style of one of the greatest Hebrew writers, Nobel Prize laureate Shmuel Yosef Agnon. Notable among the modern “State Generation”[5] poets are Yehuda Amichai, Natan Zach, and David Avidan, and among the authors are Moshe Shamir and Aharon Meged, who were followed by Amos Oz, A.B. Yehoshua, Meir Shalev, David Grossman, and others. Israeli authors were influenced by writers such as Gabriel Garcia Marquez, but also by short-story writers like Raymond Carver. Over the years, the number and importance of women authors has increased (Orly Castel-Bloom, Shulamit Lapid). A particularly notable phenomenon was the appearance of immigrant stories (Ronit Matalon, Dorit Rabinyan), and dramas set against a religious backdrop (Naomi Ragen). The works of male authors writing about the “gang” and male comradeship have also developed and increased (Amir Gutfreund, Eshkol Nevo). Music Classical music, which is identified more than anything else with high culture, flourished in Israel for many years.
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